THE  PRINT-COLLECTOR’S  BULLETIN 
AN  ILLUSTRATED  CATALOGUE  OF 
PAINTER-ETCHINGS  FOR  SALE  BY 
FREDERICK  KEPPEL  & CO. 
4 EAST  39th  STREET,  NEW  YORK 


JAMES  A.  McNEILL  WHISTLER 


THE  PRINT-COLLECTOR’S  BULLETIN 
AN  ILLUSTRATED  CATALOGUE  OF 
PAINTER-ETCHINGS  FOR  SALE  BY 
FREDERICK  KEPPEL  & CO. 
4 EAST  39th  STREET,  NEW  YORK 


. 


JAMES  A.  McNEILL  WHISTLER 


Portrait  of  Whistler 
From  the  drawing  by  Paul  Rajon 


WHISTLER  AS  AN  ETCHER 


^HISTLER  was  the  greatest  etcher  and  the  most  accomplished 


lithographer  who  ever  lived.  But  to  say  so — to  praise  en- 
thusiastically— is  only  to  decry.  To  state  things  truly  is  only  to 
overstate.  For  this  is  not  the  way  of  the  critic  who  analyses  and 
dissects,  who  records  and  distorts,  and  who  makes  a great  momen- 
tary notoriety  for  himself  and  has  no  real  effect  upon  the  one  criti- 
cized. It  is  of  him  the  Master  said,  “Je  n’en  vois  pas  la  necessite.  ” 

I know  it  will  be  objected  at  once  that  Whistler  did  not  produce 
such  plates  as  the  Hundred  Guilder,  the  Three  Trees,  the  Descent 
from  the  Cross,  the  Christ  before  Pilate.  He  did  not,  and  the  rea- 
son is  simple.  It  is  not  the  fashion  nowadays  to  do  so,  and  more 
than  this,  there  is  no  reason  why  he  should.  When  Rembrandt 
lived  it  was  the  fashion  to  illustrate  biblical  subjects,  and  he  did  so 
extraordinarily  well.  It  was  also  the  fashion  to  evolve  classical 
compositions,  and  he  did  this  amazingly.  I probably  should  not  say 
the  fashion,  but  the  tradition,  a more  appropriate  word  that  ex- 
presses much  better  what  I mean.  Whistler  was  the  faithful  fol- 
lower of  some  traditions,  but  not  of  others.  He  saw  no  necessity 
for  doing  large  plates  for  the  benefit  of  the  collector,  or  of  putting 
on  his  plates,  whether  large  or  small,  Londoners  performing  Mira- 
cle Plays.  For  him,  nature,  the  nature  that  was  all  about  him,  was 
beautiful  enough,  interesting  enough,  suggestive  enough — finer  far 
than  any  faked-up  composition.  On  the  other  hand,  if  some  of  the 
scriptural  prints  are  esteemed  as  Rembrandt’s  greatest  by  col- 
lectors— they  are  his  most  important  in  size — they  appeal  less  to 
artists,  for  they  were  really  pot-boilers,  though  magnificent. 
Whether  Whistler  could  have  used  his  etching  needle  for  the  same 
ends  I have  no  means  of  knowing;  I only  know  that  he  did  not,  that 
he  never  made  a pot-boiler— a composition  if  you  like— and  that  he 
protested  against  the  large  plate,  “the  huge  plate  is  an  offence.” 
He  may,  therefore,  be  best  compared  with  Rembrandt  for  his  treat- 
ment of  just  those  subjects  which  both  artists  etched  because  they 
loved  to  etch. 

I am  not  a cataloguer : the  clerk  who  sets  down  facts  and  figures 
wrongly  in  a book,  so  that  another  clerk  may  come  along  and  make 
a still  larger  book  by  correcting  the  first  clerk’s  mistakes  and  filling 
up  his  omissions,  just  as  they  do  in  the  City,  from  which  he  mostly 


7 


escapes;  nor  do  I wish  to  pose  as  an  historian  of  art.  I do  not  pre- 
tend to  know  the  order  in  which  Rembrandt  etched  his  plates, 
though  with  half  an  hour’s  cramming — and  I have  the  materials 
round  me — I could  get  these  facts  np.  It  is  more  interesting  to  com- 
pare, when  comparison  is  possible,  and  to  prove,  as  I stated  at  the 
beginning,  that  Whistler  is  the  greatest  etcher  who  ever  lived.  I 
have  not  compared  him  with  Hollar,  with  Callot,  or  with  Mery  on. 
for  they  were  not  etchers  as  Rembrandt  and  Whistler  were.  But 
look  at  Rembrandt’s  prints  made,  T do  not  know  whether  with  Am- 
sterdam or  Zaandam  in  the  background,  and  then  at  Whistler’s  of 
the  same  subjects.  Rembrandt  drew  and  bit  and  printed  these  little 
plates  as  no  one  had  up  to  his  time.  But  Whistler  is  as  much  in  ad- 
vance of  Rembrandt  as  that  great  artist  was  of  his  predecessors.  In 
these  little  distant  views  of  absolutely  the  same  subject  Whistler  has 
triumphed.  It  is  not  necessary  to  explain  how : you  have  only  to  see 
the  prints  to  know  it.  Or  take  Rembrandt’s  Mill,  his  studies  of  old 
houses,  and  then  turn  to  Whistler’s  Dutch  series,  or  the  Thames  set. 
or  the  Venetian  prints,  if  you  can  find  them— only  no  museum  has  a 
complete  collection  — it  becomes  evident  at  once  who  was  the  greater 
artist.  The  older  master  is  conservative  and  mannered ; the  mod- 
ern master,  respecting  all  the  great  art  of  the  past,  is  gracious,  and 
sensitive,  and  perfectly  free.  Some  of  Rembrandt’s  beggars  are 
marvellous.  But  what  of  Whistler’s  tramps,  the  Soupe  a Trois 
Sous,  or  the  Mere  Gerard,  or  fifty  others?  And  when  one  comes  to 
think  of  it,  there  are.  as  for  instance  in  those  dark  alleyways  of  the 
Venetian  set,  or  the  Kitchen  of  the  French  series,  passages  of  lum- 
inous shadow  which  Rembrandt  never  approached  in  the  Burgo- 
master Six  or  in  any  similar  subject.  Compare  the  construction  of 
the  Mill  of  Rembrandt  with  the  construction  of  the  warehouses  in 
the  Black  Lion  Wharf,  or  the  Unsafe  Tenement,  and  it  will  soon  be 
seen  who  was  the  greater  craftsman.  And  so  it  goes  all  the  way 
through. 

And  Whistler  added  a new  scientific  method  to  the  art  of  etching, 
that  of  painting  on  the  copper  plate  with  the  needle.  Who  before 
had  ever  shown  the  richness  which  a copper  is  capable  of  yielding 
without  mechanical  work,  without  stupid  cross-hatching?  Nobody. 
And  yet  he  never  transgressed  a single  one  of  the  laws  which  the 
other  groat  etchers  and  he  himself  had  laid  down.  And  this  is 
where  the  marvel  of  it  comes  in.  The  whole  of  Whistler’s  art  was  a 
growth  and  a definite  development,  but  it  was.  from  the  first,  per- 
fect in  its  own  way.  There  are  in  the  French  set,  prints,  like  the 
night  scene  in  the  Alsatian  village,  called  Street  at  Saverne,  which 
are  as  good  as  any  that  ever  came  after.  And  if  looked  at  carefully 
— I confess  I never  saw  this  until  Whistler  showed  it  to  me  once,  in 
a rage  because  I had  not  seen  his  intention— the  same  arrangement 
of  lines,  the  same  seeking  for  the  same  effects,  will  be  found  there  as 
in  the  Venetian  plates.  Later,  his  work  became  simpler,  and  in  his 
yet  unpublished  Parisian  series  of  little  shops,  scenes  on  the  Boule- 
vards and  in  the  Gardens,  he  carries  on  the  same  idea  of  painting 
with  exquisite  line.  One  of  the  most  interesting.  I think,  of  all  his 

8 


coppers  is  the  Adam  and  Eve  Tavern,  in  which  the  earlier  manner 
is  being  broken  away  from  and  his  final  method  is  taking  its  place; 
both  the  styles  harmonizing  perfectly.  I know  little,  and  can 
say  less,  of  the  states  of  his  plates, — and  I believe  he  himself 
knew  little  more  about  them, — how  many  were  printed,  whether 
they  exist  or  not,  or  what  has  become  of  the  coppers.  All  I do 
know  is  that  in  the  case  of  the  Thames  set,  long  after  Whistler  or 
Delatre—  I am  not  sure  which— had  pulled  a certain  number  of 
proofs,  long  after  the  plates  had  been  steeled  and  regularly  pub- 
lished. about  1871.  and  later  still,  after  a Rond  Street  dealer  had 
been  selling  them  in  endless  numbers  to  artists  for  a few  shillings 
each,  the  idea  was  suggested  to  another  dealer  that  he  should  pur- 
chase the  copper  plates,  remove  the  steel  facing,  and,  if  they  were  in 
condition,  print  as  many  as  the  plates  would  stand,  or  if  they  were 
not,  destroy  the  plates  and  sell  them,  for  even  Whistler’s  destroyed 
coppers  have  a value.  The  experiment  was  tried,  and  extraordi- 
narily fine  proofs  were  obtained.  I believe  collectors  resented  this 
very  much,  but  artists  rejoiced,  and  the  world  is  the  richer  by  a 
number  of  splendid  examples  of  the  master. 

It  is  scarcely  necessary  to  refer  in  detail  to  the  different  series, 
beginning  with  the  French  set,  then  the  Thames,  the  two  Venetian ; 
really  the  only  ones  that  have  been  published.  Yet  there  are  also 
the  plates  done  in  Holland,  which  I think  have  never  all  been  pub- 
licly seen  in  England  or  America.  A few  were  exhibited  in  the  sec- 
ond International  in  London,  in  1899,  where  were  also  shown  most 
of  the  prints  of  the  Naval  Review,  1887.  There  is  also  a Belgian 
set,  but  I do  not  think  it,  either,  has  been  shown  often.  Then  there 
is  the  series  made  in  the  French  provinces,  and,  finally,  a number 
were  done  in  Paris  and  the  suburbs  in  1892  and  1893.  But  all  his 
life  Whistler  was  working  on  copper,  and  no  man  living,  at  the 
present  time,  has  any  idea  how  many  etchings  he  made.  All  his 
work  is  alike  perfect.'  It  has  only  been  produced  under  different 
circumstances,  and  is  an  attempt  to  render  different  effects  or  situa- 
tions. Therefore  the  methods  vary,  but  the  results  are  always  the 
same— great.  The  greatest,  the  most  perfect,  as  a whole,  that  any 
etcher  has  ever  accomplished. 

Joseph  Pennell. 

New  York,  October,  1904. 


9 


NOTE 

ALTHOUGH  oil  the  day  of  issuing  The  Print-Collector’s 
Bulletin  we  were  able  to  supply  each  print  mentioned  at  the 
price  quoted,  the  steady  advance  in  the  value  of  certain  rare  prints 
sometimes  renders  it  impossible  for  us  to  supply  a duplicate  im- 
pression at  the  original  price. 

After  the  Bulletin  has  been  examined,  we  should  be  glad  to 
send  a selection  of  the  Etchings  themselves,  for  inspection,  by  ex- 
press or  mail,  to  any  address. 

We  pay  all  charges  of  transmission ; and  our  correspondents  need 
feel  under  no  obligation  to  purchase,  if  the  Etchings  themselves  do 
not  satisfy  them  in  every  x-espect. 

Correspondents  whom  we  do  not  already  know,  and  who  may 
desire  to  have  Etchings  sent  on  selection,  will  recognize  the  pro- 
priety of  introducing  themselves  with  a proper  reference. 

Frederick  Keppel  & Co. 


May  14,  1908 


CATALOGUE 


L1VERDUN  (Wedmore  No.  4) 

A farm-yard  in  the  Village  of  Liverdun,  near  Toul  in  Lorraine. 

One  of  the  French  set. 

Proof  on  Old  Dutch  paper $30 


LA  RETAMEUSE  (Wedmore  No.  5) 

One  of  the  French  set. 

Proof  on  India  paper $30 


EN  PLEIN  SOLEIL  (Wedmore  No.  6) 

One  of  the  French  set. 

First  edition,  on  white  India  paper $36 

THE  UNSAFE  TENEMENT  (Wedmore  No.  7) 

One  of  the  French  set. 

Proof  on  Japan  paper $30 

LA  MERE  GERARD  (Wedmore  No.  9) 

One  of  the  French  set. 

Proof  on  Old  Dutch  paper $36 


THE  SAME 

From  the  collection  of  Queen  Victoria.  It  bears  the  royal  stamp  at  the  back. 


Proof  on  India  paper $62 

STREET  AT  SAVERNE  (Wedmore  No.  11) 


“There  are  in  the  French  set  prints,  like  the  night  scene  in  the  Alsatian  vil- 
lage, called  Street  at  Saverne,  which  are  as  good  as  any  that  came  after.  And 
if  looked  at  carefully  . . . the  same  arrangement  of  lines,  the  same  seeking 
for  the  same  effects,  will  be  found  there  as  in  the  Venetian  plates. ’’—From  the 
Introduction  by  Joseph  Pennell. 

One  of  the  French  set. 

Proof  on  India  paper $30 


11 


LITTLE  ARTHUR  (Wedmore  No.  13) 

One  of  the  French-  set. 

Proof  on  Japan  paper $20 


LA  VIE1LLE  AUX  LOQUES  (Wedmore  No.  14) 

This  plate,  the  Kitchen,  La  Marchande  de  Moutarde,  the  Street  at  Saverne,  and 
the  Rag  Gatherers’  are  the  finest  of  the  very  early  plates,  and,  as  Mr.  Pennell 
says  in  speaking  of  the  Street  at  Saverne,  they  are  “as  good  as  any  that  came 
after.  ’ ’ 

One  of  the  French  set. 

Proof  on  Old  Dutch  paper $60 


ANNIE  (Wedmore  No.  15) 

This  little  girl  was  Annie  Haden,  the  daughter  of  Sir  Seymour  Haden.  She 
later  became  the  wife  of  Mr.  Charles  Thynne. 

One  of  the  French  set. 

Proof  on  India  paper $50 


LA  MARCHANDE  DE  MOUTARDE  (Wedmore  No.  16) 

The  second  state,  with  Delatre’s  address  effaced  from  the  plate. 

“In  La  Marchande  de  Moutarde  and  the  Kitchen  . . . are  very  beautiful 
chiaroscuro  effects. ’’—T.  R.  Way,  The  Art  of  J.  McNeill  Whistler,  p.  68. 

One  of  the  French  set. 

Proof  on  Japan  paper $24 

(See  Illustration) 


THE  SAME 

First  state  before  the  address  of  Delatre  was  effaced. 

Proof  on  India  paper $55 


THE  RAG  GATHERERS’  (Wedmore  No.  17) 

“A  fine  plate  executed  during  the  same  period  is  The  Rag  Gatherers  ’ — a squalid 
interior  with  two  figures  at  the  back,  very  suggestive  and  powerful  in  effect.” 
— T.  R.  Way,  The  Art  of  J.  McNeill  Whistler,  p.  68. 

Proof  on  Japan  paper $24 

(See  Illustration) 


FUMETTE  (Wedmore  No.  18) 

One  of  the  French  set. 

Proof  on  Japan  paper $30 


12 


The  Kitchen 


, 


Marchande  de  Moutarde  The  Rag  Gatherers 


THE  KITCHEN 


(Wedmore  No.  19) 


“The  kitchen  is  flooded  with  sunshine,  like  a chamber  of  De  Hooch’s.’’— 
Frederick  Wedmore,  Whistler’s  Etchings,  p.  26. 

‘ ‘ There  are,  as,  for  iustance,  in  those  dark  alleyways  of  the  Venetian  set,  or 
the  Kitchen  of  the  French  series,  passages  of  luminous  shadow  which  Rem- 
brandt never  approached  in  the  Burgomaster  Six,  or  in  any  similar  subject.’’ — 
From  the  Introduction  by  Joseph  Pennell. 

One  of  the  French  set. 

Superb  impression  of  the  first  state,  on  warm 
yellow  India  paper $450 

(See  Illustration) 


THE  SAME 

Another  impression,  also  in  the  first  state,  with  less  tone  on  the  plate. 


Proof  on  Old  Dutch  paper $425 

THE  TITLE  TO  THE  FRENCH  SET  (Wedmore  No.  20) 

Superb  impression  on  India  paper $20 


THE  SAME 


Impression  on  brown  paper,  original  cover  for 
the  French  set $20 


A LITTLE  BOY  (Wedmore  No.  22) 

Done  as  a portrait  of  Seymour  Haden,  Junior. 

Proof  on  Japan  paper $36 


THE  SAME 

From  the  collection  of  Queen  Victoria.  It  bears  the  royal  stamp  at  the  back. 
Proof  on  Old  Dutch  paper $75 


SEYMOUR  (Wedmore  No.  23) 

A portrait  of  Seymour  Haden,  Junior. 

Proof  on  Japan  paper $24 


ANNIE  SEATED  (Wedmore  No.  24) 

1 ‘ One  of  the  most  beautiful  of  the  many  portraits  of  Miss  Annie  Haden.  ’ ’ — 
T.  R.  Way,  The  Art  of  J.  McNeill  Whistler,  p.  68. 

Proof  on  Japan  paper $24 

(See  Illustration) 

17 


THE  MUSIC  ROOM 


(Wedmore  No.  26) 

The  three  figures  are  portraits  of  Sir  Seymour  Haden  (at  the  left),  Lady 
Haden,  aud  Mr.  Freer.  First  state.  There  is  no  indication  of  fingers  on  Sir 
Seymour ’s  right  hand. 

From  the  collection  of  Queen  Victoria.  It  bears  the  royal  stamp  at  the  back. 
Proof  on  Old  Dutch  paper $130 


SOUPE  A TROIS  SOUS  (Wedmore  No.  27) 

‘ ‘ Some  of  Rembrandt  ’s  beggars  are  marvellous.  But  what  of  Whistler ’s 
tramps,  the  Soupe  a Trois  Sous,  or  the  Mere  Gerard,  or  fifty  others?” — From 
the  Introduction  by  Joseph  Pennell. 

Proof  on  Old  Dutch  paper $36 


BIBI  VALENTIN  (Wedmore  No.  28) 

Proof  on  Old  Dutch  paper $32 


BIBI  LALOUETTE  (Wedmore  No.  30) 

“A  charming  study  of  a boy  sitting  on  a sloping  bank.  T.  K.  Way,  The  Art 
of  J.  McNeill  Whistler,  p.  68. 

‘ ‘ He  was  the  son  of  Lalouette,  who  kept  a pension  near  the  Rue  Dauphine,  at 
which  Whistler,  Legros,  Fantin,  and  others  used  to  take  their  meals  in  those 
early  days. ’’—Frederick  Wedmore.  Whistler's  Etchings,  p.  30. 

Proof  on  Japan  paper $34 

(See  Illustration) 


THE  WINE  GLASS  (Wedmore  No.  31 ) 

‘‘A  marvellous  little  still-life  study,  entitled  The  Wine  Glass,  also  done  at  this 
time,  may  be  compared  with  Rembrandt’s  Shell.”— T.  R.  Way,  The  Art  of  J. 
McNeill  Whistler,  p.  68. 

‘‘This  is  the  only  still-life  piece  ever  wrought  by  Mr.  Whistler.  It  gleams 
like  a De  Heem  or  a Blaise  Desjoffe. ’’—Frederick  Wedmore,  Whistler's  Etch- 
ings, p.  30. 

Proof  on  Japan  paper $20 


GREENWICH  PENSIONER  (Wedmore  No.  32) 

Proof  on  Old  Dutch  paper $145 


THE  SAME 

Proof  on  Old  Dutch  paper.  From  the  Mac- 
George  and  Theobald  Collections.  Signed 
with  Mr.  Whistler’s  ‘‘butterfly”  signature.  .$165 


GREENWICH  PARK  (Wedmore  No.  33) 

This  and  the  l)am  Wood  are  almost  the  only  landscapes  to  be  found  in 
Whistler’s  work.  They  are  interesting  as  illustrating  his  earlier  and  later 
method  of  treating  a class  of  subject  which  was  so  unusual  with  him. 

Proof  on  Old  Dutch  paper $56 

18 


Annie  Seated  Bibi  Lalouette 


Rothf.rhithe  The  Limeburner 


NURSEMAID  AND  CHILD 


(Wedmore  No.  34) 


The  rare  first  state.  The  nursemaid  has  a nez  retrousse.  It  is  in  this  state 
that  Mr.  Wedmore  says  she  is  somehow  “a  pleasanter  young  woman.”  The 
first  state  of  this  plate  has  frequently  been  described  as  the  second,  and  vice 
versa. 

Proof  on  Old  Dutch  paper $56 


THE  SAME 
Second  state. 

Proof  on  Japan  paper $50 


THAMES  WAREHOUSES  (Wedmore  No.  35) 

One  of  the  Thames  set. 

“To  that  Early  Period,  to  that  first  time,  belonged  then  these  two  sets:  the 
second  with  its  infinitely  interesting  Pool,  Thames  Police,  Thames  Warehouses, 
and  Black  Lion  Wharf.”—  Frederick  Wedmore.  Whistler  and  Others,  p.  22. 

Proof  on  Old  Dutch  paper $50 


WESTMINSTER  BRIDGE  (Wedmore  No.  36) 

One  of  the  Thames  set. 

Proof  on  Japan  paper $50 


LIMEHOUSE  (Wedmore  No.  37) 

One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $36 


TYZAC,  WH1TELEY  & CO.  (Eagle  Wharf)  (Wedmore  No.  39) 

One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $42 


BLACK  LION  WHARF  (Wedmore  No.  40) 

“Mr.  Whistler’s  plate,  Black  Lion  Wharf,  or  The  Black  Lion,  a reproduction 
of  which  is,  I believe,  to  be  published  in  to-day’s  Chronicle,  is  one  of  the  great- 
est engraved  plates  that  has  been  produced  in  modern  times.  I would  even  say 
that  it  is  the  greatest  etching  of  modern  times  were  it  not  for  the  fact  that  it 
is  but  one  of  a set  known  as  The  Thames  Series,  etched  by  the  master  some 
thirty-five  years  ago. ’’—Joseph  Pennell,  in  a letter  to  the  London  Daily 
Chronicle,  February  22,  1895. 

One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $“0 


THE  POOL  (Wedmore  No.  41) 

One  of  the  Thames  set.  See  note  under  Thames  Warehouses. 

Proof  on  Japan  paper $50 


23 


THAMES  POLICE  (Wedmore  No.  42) 

One  of  the  Thames  set.  See  note  under  Thames  Warehouses. 

Proof  on  Old  Dutch  paper $36 


’LONGSHOREMEN  (Wedmore  No.  43) 

Proof  on  Japan  paper $36 


THE  LIMEBURNER  (Wedmore  No.  44) 

One  of  the  most  beautiful  of  Whistler  's  plates,  and  probably  the  earliest  ex- 
ample of  a system  of  composition  which  became  very  characteristic  of  him  — 
that  of  a vista  seen  through  a frame.  Later  examples  of  it  are:  The  Traghetto, 
The  Beggars,  Doorway  and  Vine,  San  Biagio,  and  perhaps  the  last  and  frankest 
expression  of  all.  The  Garden.  In  these  plates  the  foreground  and  middle  dis- 
tance are  treated  as  an  elaborate  frame,  for  the  most  part  in  shadow,  through 
which  is  seen  a small  and  usually  brilliantly  lighted  distance. 

One  of  the  Thames  set. 

Proof  on  Japan  paper $120 

(See  Illustration) 


BILLINGSGATE  (Wedmore  No.  45) 

“The  solidity  of  the  buildings  introduced  into  this  plate— the  clock  tower  and 
the  houses  upon  the  quay— are  a rare  achievement  in  etching.  . . . The  strength 
of  their  realization  lends  delicacy  to  the  thin-masted  fishing  boats  with  their 
yet  thinner  lines  of  cordage,  and  to  the  distant  bridge  and  the  gray  mist  of 
London  and  to  the  faint  clouds  of  the  sky.” — Frederick  Wedmore,  Four  Mas- 
ters of  Etching,  pp.  37-38. 

Proof  on  Japan  paper $24 

(See  Illustration) 


LANDSCAPE  WITH  A HORSE  (Wedmore  No.  46) 

The  very  rare  first  state;  before  the  sky. 

Proof  on  Old  Dutch  paper $60 


BECQUET  (Wedmore  No.  48) 

Sir  Seymour  Haden,  who  could  certainly  be  trusted  not  to  overpraise  Whist- 
ler’s work,  said  of  this  plate,  “Rembrandt  never  did  anything  finer.” 

“The  figure  of  the  violoncellist  is  merely  indicated  with  a few  swift  lines; 
but  the  head  is  fully  elaborated  with  an  incomparable  minuteness  and  fineness 
of  touch.  The  more  closely  it  is  examined  the  more  complete  and  finished  it 
appears  and  the  more  beautiful  its  workmanship. ’’—Mrs.  Schuyler  Van 
Rensselaer,  Century  Magazine,  August,  1893. 

One  of  the  Thames  set. 

Proof  on  Japan  paper $120 


24 


Billingsgate 


Putney  Bridge 


! 


Nocturne 


f ; 


/ 


JLv.. 


Cadocan  Pier 


R0THERH1THE 


(Wedmore  No.  60) 


“Every  brick  in  the  building  on  the  right  is  carefully  drawn,  in  order  to  pro- 
duce the  desired  effect  of  color.  This  plate  is  one  of  the  strongest  and  most 
vigorous  of  the  series.’’ — T.  R.  Way,  The  Art  of  J.  McNeill  Whistler,  p.  69. 
One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $70 

(See  Illustration) 


THE  FORGE  (Wedmore  No.  63) 

“This  audacious  dry-point. ’ ’—Frederick  Wedmore,  Whistler’s  Etchings,  p.  44. 
One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $80 


VAUXHALL  BRIDGE  (Wedmore  No.  66) 

“The  foreground  is  a spirited  confusion  of  barge,  sails,  masts,  and  cordage.’’ 
— Frederick  Wedmore,  Whistler’s  Etchings,  p.  45. 

Proof  on  Old  Dutch  paper $24 

MILLBANK  (Wedmore  No.  67) 

One  of  the  Thames  set. 

Proof  on  Japan  paper $40 


THE  LITTLE  POOL  (Wedmore  No.  72) 

Trial  proof  with  writing  at  the  bottom,  but  before  the  sky,  and  before  the 
shading  in  the  water. 

Proof  on  Old  Dutch  paper $55 


THE  SAME. 

Published  state.  The  writing  is  effaced. 

One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper.  $30 

LITTLE  SMITHFIELD  (Wedmore  No.  78) 

“On  either  side  there  recede  into  the  distance  the  quaint  timber  houses  of  a 
narrow  London  lane,  the  woodwork  wonderfully  indicated.  A most  rare  dry- 
point. ’’—Frederick  Wedmore,  Whistler’s  Etchings,  p.  49. 

Proof  on  Old  Dutch  paper $160 

CADOGAN  PIER  (Wedmore  No.  79) 

“Cadogan  Pier,  which  may  be  compared  with  the  lithograph  entitled  Early 
Morning,  is  a poetical  etching  of  the  river  off  Battersea  in  the  morning  mist, 
when  ‘a  common  greyness  silvers  everything.’  ’’ — T.  R.  Way,  The  Art  of  J. 
McNeill  Whistler,  pp.  73,  74. 

One  of  the  Thames  set. 

Proof  on  Old  Dutch  paper $40 

(See  Illustration) 

29 


OLD  HUNGERFORD  BRIDGE 


(Wedmore  No.  80) 


‘ ‘ The  reflections  in  the  water  are  exquisite,  and  in  the  far  distance  the  build- 
ings down  the  river  are  indicated  with  great  subtlety  of  touch.  T.  R.  Way, 
The  Art  of  J.  McNeill  Whistler,  p.  71. 

One  of  the  Thames  set. 

Proof  on  Japan  paper $50 


AMSTERDAM,  ETCHED  FROM  THE  TOLHU1S  (Wedmore  No.  82) 

State  intermediate  between  the  first  and  second.  Undescribed  by  Wedmore. 
The  skv  has  been  changed  from  the  first  state,  but  the  monogram  has  not  yet 
been  introduced. 

Proof  on  Old  Dutch  paper $285 

(See  Illustration) 


CHELSEA  BRIDGE  AND  CHURCH  (Wedmore  No.  85) 

One  of  the  Thames  set. 

Proof  on  Japan  paper $30 


THE  MODEL  RESTING  (Wedmore  No.  87) 

Trial  proof,  undescribed  by  Wedmore,  with  the  monogram,  but  before  the  hori- 
zontal lines  in  the  background,  near  the  left  shoulder  of  the  figure. 

“An  elegant  and  rare  dry-point. ’’—Frederick  Wedmore,  Whistler’s  Etch- 
ings, p.  49. 

From  the  Menpes  collection. 

Proof  on  Old  Dutch  paper $385 

(See  Illustration) 


THE  VELVET  DRESS  (Wedmore  No.  91) 

“The  heavy  folds  into  which  velvet  must  fall  are  indicated  by  but  a very  few 
touches.  Round  the  neck  a ruff  is  seen,  and  that  and  the  hair  are  drawn  with 
Whistler’s  peculiar  delicacy.  . . . This  scarce  dry-point  is  a portrait  of  Mrs. 
F.  R.  Leyland.  ’ ’—Frederick  Wedmore,  Whistler's  Etchings,  p.  53. 

From  the  Menpes  collection. 

Proof  on  Japan  paper $490 

(See  Illustration) 


FLORENCE  LEYLAND  (Wedmore  No.  96) 

Superb  early  impression,  before  the  vertical  shading  on  the  butterfly.  It  is 
from  the  collection  of  Queen  Victoria  and  bears  the  royal  stamp  at  the  back. 

“Of  all  the  portraits,  however,  that  entitled  Weary,  a beautiful  study  of  a 
girl  lying  back  in  a chair,  every  line  expressing  fatigue,  and  the  portrait  of 
Florence  Leyland  with  its  perfect  grace  of  line  and  pose,  are  perhaps  the  most 
completely  satisfying.’’ — T.  R.  Way,  The  Art  of  J.  McNeill  11  histler,  p.  72. 

Proof  on  Old  Dutch  paper $600 

(See  Illustration) 

30 


The  Velvet  Dress 


- 


Florence  Leyland  The  Model  Resting 


TATTING 


(Wedmore  No.  98) 


This  is  also  a study  of'oue  of  the  Leylands. 

Proof  on  Japan  paper $32 


THE  BOY  (Wedmore  No.  109) 

One  of  the  rarest  pieces  of  the  “middle  period.”  Trial  proof  before  the  arms 
were  shaded. 

Proof  on  Old  Dutch  paper $265 


THE  LITTLE  FORGE  (W'edmore  No.  115) 

The  very  rare  early  state.  Before  the  trees  (seen  through  the  window)  were 
finished,  and  before  the  additional  shading  under  the  window  and  on  the  raft- 
ers. This  impression  is  enriched  by  additional  wash-drawing  by  Whistler.  It 
is  from  the  collection  of  Queen  Victoria  and  bears  the  royal  stamp  at  the  back. 

Proof  on  Old  Dutch  paper $450 


TWO  SHIPS  (Wedmore  No.  116) 

Proof  on  Old  Dutch  paper $185 


PRICE'S  CANDLE-WORKS  (Wedmore  No.  124) 

Superb  impression,  in  the  first  state,  of  ‘ ‘ this  always  desirable  dry-point.  ’ ’ 
“They  are  at  Battersea,  and  are  seen  from  across  the  water.  One  or  two 
barges  in  the  middle  distance.  Behind  these,  the  low-arched  sheds  and  chimneys 
of  the  Candle-works— expressed  simply  and  broadly  in  the  rare  early  impres- 
sions.’’—Frederick  Wedmore,  Whistler’s  Etchings,  p.  62. 

Proof  on  Old  Dutch  paper $285 

(See  Illustration) 


FREE-TRADE  WHARF  (Wedmore  No.  134) 

Proof  on  Old  Dutch  paper $18 


THE  THAMES  TOWARDS  ER1TH  (Wedmore  No.  135) 

“It  is  a rare  dry-point. ’’—Frederick  Wedmore,  Whistler’s  Etchings,  p.  66. 

Proof  on  Old  Dutch  paper $365 

(See  Illustration) 

THE  ‘ADAM  AND  EVE’  TAVERN,  OLD  CHELSEA  (W'edmore  No.  144) 

“One  of  the  most  interesting,  I think,  of  all  his  coppers  is  the  Adam  and  Eve 
Tavern,  in  which  the  earlier  manner  is  being  broken  away  from  and  his  final 
method  is  taking  its  place,  both  the  styles  harmonizing  perfectly. ’’—From  the 
Introduction  by  Joseph  Pennell. 

Proof  on  Japan  paper $34 

(See  Illustration) 

35 


PUTNEY  BRIDGE 


(Wedmore  No.  145) 

Superb  impression,  printed  by  Mr.  Whistler  and  signed  with  his  “butterfly” 
signature. 

Proof  on  Old  Dutch  paper $430 

(See  Illustration) 


FULHAM  (Wedmore  No.  148) 

First  Edition. 

Proof  on  Old  Dutch  paper $42 


THE  SAME 
Second  Edition. 

Proof  on  Japan  paper $24 


NOCTURNE  (Wedmore  No.  150) 

Very  rare.  Trial  proof,  undescribed  by  Wedmore. 

One  of  the  Venice  set. 

Proof  on  Old  Dutch  paper $765 

(See  Illustration) 


THE  LITTLE  MAST  (Wedmore  No.  151) 

“Take  such  etchings  as  the  Little  Mast,  the  Fiazetta,  the  Eiva,  San  Giorgio. 
the  Balcony,  etc.  In  each  the  strokes  are  almost  to  be  counted,  yet  how  ihey 
assist  the  eye  to  complete  the  picture  for  itself ! ”— Hans  Wolfgang  Singft:, 
James  McNeill  Whistler,  p.  48. 

Early  proof  before  additional  shading  on  the  sail. 

One  of  the  Venice  set. 

Printed  by  Whistler  and  signed  with  his  “but- 
terfly ’ ’ signature $350 

(See  Illustration) 


THE  SAME 

Extremely  fine  impression  with  the  additional  shading  on  the  sail. 

Printed  by  Whistler  and  signed  with  his  “but- 
terfly” signature $350 


THE  P1AZETTA  (Wedmore  No.  155) 

Early  proof,  before  the  man ’s  hat  was  changed.  Extremely  fine  proof. 

From  the  Ellingwood  collection. 

Printed  by  Whistler  and  signed  with  his  “but- 
terfly” signature $320 

(See  Illustration) 

36 


Price’s  Candle-works 


The  Thames  toward  Erith 


Dordrecht 


Amsterdam,  Etched  from  the  Tolhi  is 


THE  RIVA— NUMBER  ONE  (Wedmore  No.  157) 

Early  proof  from  the  Menpes  and  Ellingwood  collections,  of  a light  golden 

tone. 

One  of  the  Venice  set. 

Proof  on  Old  Dutch  paper $425 

(See  Illustration) 

THE  MAST  (Wedmore  No.  160) 

One  of  the  Venice  set. 

Fine  impression  from  the  Ellingwood  collection. 

Printed  by  Whistler  and  signed  with  his  ‘ ‘ but- 
terfly” signature $200 

DOORWAY  AND  VINE  (Wedmore  No.  161) 

Early  trial  proof,  “a  I’eau  forte  pure.”  That  is  to  say,  the  plate  at  this  stage 
contains  practically  no  dry-point  work. 

From  the  Menpes  collection. 

One  of  Messrs.  Dowdeswell’s  rare  set  of  ‘ ‘ Twenty-six  Etchings.”  Thirty  sets 
only,  issued  in  1886. 

Proof  on  Old  Dutch  paper $235 

THE  SAME 

Extremely  fine  impression  from  the  Ellingwood  collection. 

Proof  printed  by  Whistler  and  signed  with  his 
“butterfly”  signature $225 

THE  WHEELWRIGHT  (Wedmore  No.  162) 

One  of  the  “Twenty-six  Etchings.” 

Proof  printed  by  Whistler  and  signed  with  his 
“butterfly”  signature $90 

SAN  BIAGIO  (Wedmore  No.  163) 

Early  trial  proof  from  the  Menpes  collection,  before  the  additional  shading  at 
the  left  and  before  the  shadow  under  the  archway  was  reworked. 

One  of  the  ‘ ‘ Twenty-six  Etchings.  ’ ’ 

Proof  on  Old  Dutch  paper $320 

TURKEYS  (Wedmore  No.  165) 

One  of  the  ‘ ‘ Twenty-six  Etchings.  ’ ’ 

Very  fine  and  early  proof,  printed  by  Whistler 
and  signed  with  his  “butterfly”  signature.  .$285 

SAN  GIORGIO  (Wedmore  No.  167) 

Trial  proof  before  the  monogram.  From  the  Otto  Bac-her  collection. 

One  of  the  “Twenty-six  Etchings.” 

Proof  on  Old  Dutch  paper $360 

41 


SAN  GIORGIO  (I'ndesmbed  by  Wedmore) 

The  upright  plate,  trial  proof  believe. 1 to  be  unique.  From  the  Otto  Baeher 

collection. 

Proof  on  Japan  paper $340 


UPRIGHT  VENICE  (Wedmore  No.  172) 

Early  trial  pr  >f  before  the  foreground.  From  the  Otto  Baeher  eolleetion. 

One  of  the  ‘ * Twenty-six  Etchings. 

"The  same  amazing  effeet  of  distance"  (already  noticed  in  the  Little 
Ft  i "is  produced  in  many  others  of  the  Venire  etchings.  su«-h  as  the  I.ittle 
Lagoon.  San  Giorgio,  the  Upright  Venice  and  the  Long  Venice." — T.  R.  Way. 
Thr  Art  of  J.  ilcXeill  Whistler.  p.  73. 

Proof  on  Old  Dutch  paj>er $3^7 


THE  BALCONY  (Wedmore  No.  177) 

Trial  proof  before  the  shading  back  of  the  seated  figure  in  the  balcony.  From 
the  Menjies  collection. 

"The  chiaroscuro  is  as  effective,  the  draughtsmanship  as  fine,  the  detail 
quite  as  beautiful  as  the  Palaces  or  the  Doortray.  — Frederick  Wedmore. 
Whistler's  Etchings,  p.  so. 

"In  this  b^et  the  entrancing  freedom  and  inexhaustible  suggestiveness  of  the 
Balcony  and  the  Garden  demand  note. Frederick  Wedmore.  Etching  in 
England,  p.  3s. 

Proof  on  Old  Dutch  paper $420 


THE  SAME 

Another  impression  in  the  same  trial  state  as  the  preceding. 

One  of  the  "Twenty-six  Etchings." 

Proof  on  Old  Dutch  }>aper $3>o 


THE  GARDEN  (Wedmore  No.  ISO) 

Early  trial  proof,  of  a very  beautiful  golden  tone,  before  the  additional  shad- 
ing on  the  lintel  of  the  door. 

One  of  the  ‘‘Twenty-six  Etchings." 

Proof  on  Old  Dutch  paper $400 


LONG  VENICE  (Wedmore  No.  182) 

Fine  early  impression. 

One  of  the  "Twenty-six  Etchings." 

Proof  printed  by  Whistler  and  signed  with  his 
‘ ‘ butterfly  * ’ signature $35< 1 


4. 


The  Little  Mast  The  Piazetta 


' 


The  Riva  — Number  One 


W?.7 


A QUIET  CANAl. 


(Wedmore  No.  184) 


Extremely  line  and  early  impression. 

“The  (Juiet  Cana I,  a beautiful  view  of  a canal  curving  between  two  rows  of 
buildings,  with  very  delicate  reflections  in  the  water.” — T.  K.  Way,  The  Art  of 
J.  McNeill  Whistler,  p.  74. 

Proof  printed  by  Whistler  and  signed  with  his 
“butterfly”  signature $350 


SALUTE:  DAWN  (Wedmore  No.  185) 

Very  delicate  early  impression  from  the  Lawrence  W.  Hodgson  collection. 

One  of  the  “Twenty-six  Etchings.” 

“Salute:  Dawn,  a marvelous  dry-point,  which  shows  the  sun  rising  over  a 
group  of  buildings  and  domes,  across  a wide  expanse  of  water.  The  qualities 
of  this  plate,  which  has  but  the  slightest  dry-point  skeleton,  depend  upon  the 
most  wonderful  printing,  each  impression  being  really  a painting  by  Mr.  Whist- 
ler on  the  copper.” — T.  R.  Way,  The  Art  of  ,/.  McNeill  Whistler,  p.  75. 

Proof  printed  by  Whistler  and  signed  with  his 
‘ ‘ butterfly  ’ ’ signature $290 


THE  SMITHY  (Wedmore  No.  197) 

From  the  collection  of  Queen  Victoria.  It  bears  the  royal  stamp  at  the  back. 

Proof  printed  by  Whistler  and  signed  with  his 
* ‘ butterfly  ’ ’ signature $185 

DORDRECHT  (Wedmore  No.  200) 

From  the  Menpes  collection. 

Proof  on  Old  Dutch  paper $225 

(See  Illustration) 


FRUIT-SHOP  (Wedmore  No.  210) 

Early  trial  proof. 

Proof  on  Old  Dutch  paper $56 

A SKETCH  ON  THE  EMBANKMENT  (Wedmore  No.  211) 

From  the  Menpes  collection. 

Proof  on  Old  Dutch  paper $55 


LITHOGRAPHS 


CHELSEA  RAGS  (Way  22) 

Proof  on  Old  Dutch  paper $45 

GABLED  ROOFS  (Way  41) 

Proof  on  Old  Dutch  paper $52 

NUDE  MODEL  RECLINING  (Way  47) 

Proof  on  Old  Dutch  paper $50 


47 


THE  TERRACE,  LUXEMBOURG  (Way  55) 

Proof  on  Old  Dutch  paper $55 

LATE  PICQUET  (Way  57) 

Proof  on  Old  Dutch  paper $45 

LA  ROBE  ROUGE  (Way  68) 

Proof  on  Old  Dutch  paper $50 

FIRELIGHT,  JOSEPH  PENNELL  (Way  104) 

Proof  on  Old  Dutch  paper $30 

NEEDLEWORK  (W'ay  113) 

Proof  on  Old  Dutch  paper $50 

THE  MANAGER’S  WINDOW  (Way  114) 

Proof  on  Old  Dutch  paper $42 

ST.  ANNE’S,  SOHO  (Way  126) 

Proof  on  Old  Dutch  paper $55 

THE  SHOEMAKER  (Way  151) 

Proof  on  Old  Dutch  paper $45 

DRAWINGS 

STUDY  OF  A LADY’S  HEAD 

Crayon  drawing,  with  touches  of  white.  On 
brown  paper $145 

Height  10,  width  7 

PORTRAIT  OF  A BOY  SEATED 

Crayon  drawing,  with  touches  of  white.  On 
brown  paper $200 

Height  9%,  width  714 


43 


BOOKS  ON 

ETCHINGS  AND  ENGRAVINGS 

N.  B.—  Any  of  these  books  will  be  sent,  postpaid,  on  receipt  of  price. 

ILLUSTRATED  CATALOGUE  OF  ETCHINGS  AND  ENGRAVINGS 
PUBLISHED  BY  FREDERICK  KEPPEL  & CO. 

‘ ‘ Frederick  Keppel  & Co.  publish  a valuable  and  instructive  Catalogue  of 
their  prints.  The  book  is  profusely  illustrated,  with  really  capital  pictures, 
and  will  be  most  valuable  for  reference.  ’ ’—Arthur  Hoebek,  The  Globe  and 
Commercial  Advertiser,  March  29,  1908. 

New  edition.  Printed  at  the  De  Vinne  Press. 

165  pages,  9^4  x 6J4,  84  illustrations,  flexible  covers,  10  cents 


THE  KEPPEL  BOOKLETS 

The  First  and  Second  Series  of  The  Keppel  Booklets  are  now  ready.  Each 
series  consists  of  five  Booklets,  described  below,  inclosed  in  a special  slide  case, 
and  will  be  sent,  postpaid,  to  any  address,  on  receipt  of  twenty-five  cents  in 
stamps. 

These  Booklets  measure  5%  x3V^  inches.  They  are  printed  by  the  De  Vinne 
Press,  New  York.  Separate  Booklets  can  be  had  at  5 cents  each,  postpaid. 


FIRST  SERIES 


CONCERNING  THE  ETCHINGS 
OF  MR.  WHISTLER 

CONTENTS 

Propositions  by  Mr.  Whistler.  Re- 
printed from  his  book,  “The  Gentle 
Art  of  Making  Enemies.  ’ ’ 

Mr.  Whistler’s  Etchings.  Reprinted 
from  The  Daily  Chronicle  (Lon- 
don), February  22,  1895.  By  Joseph 
Pennell. 

Whistler ’s  Thames  Etchings.  Re- 
printed from  the  Bulletin  de  l’ Art 
Ancien  et  Moderne,  Paris,  Decem- 
ber, 1903.  By  Monsieur  F.  Cour- 
boin. 

Sixth  edition,  69  pages,  26  illustrations 

SIR  SEYMOUR  HADEN, 
Painter-Etcher 

By  Frederick  Keppel 

Being  a condensation  of  the  lecture 
prepared  for  and  delivered  before  the 
Grolier  Club,  and  afterward  repeated 
at  the  Metropolitan  Museum  of  Art, 
Yale  University,  etc. 

Fourth  edition,  40  pages,  13  illustrations 


JEAN- FRANCOIS  MILLET, 
Painter-Etcher 

By  Mrs.  Schuyler  van  Rensselaer 

Reprinted,  by  permission,  from  The 
Independent.  To  which  is  appended  a 
sketch  of  the  “Life  of  Millet”  by 
Frederick  Keppel. 

Third  edition,  43  pages,  11  illustrations 


JOSEPH  PENNELL, 

Etcher,  Illustrator,  Author 

By  Frederick  Keppel 
Reprinted,  by  permission,  from  The 
Outlook  of  September  23,  1905. 

First  edition,  64  pages,  16  illustrations 


DRY-POINTS  BY  PAUL  HELLEU 

By  Frederick  Wedmore 

Reprinted  from  Etching  in  England, 
London,  1895.  Introduction  by  the 
late  Edmond  de  Goncourt. 

Sixth  edition,  17  pages,  4 illustrations 
(1  in  colors) 


49 


SECOND  SERIES 


AUGUSTE  RAFFET 

By  Atherton  Curtis 

This  review  of  Raffet ’s  works  has 
been  revised  and  abridged  by  the  au- 
thor from  his  chapter  on  Raffet  in 
‘ ‘ Some  Masters  of  Lithography.  ’ ’ 
First  edition,  40  pages,  14  illustrations 

THE  LATE  FELIX  BUHOT 
Painter-Etcher 

By  M.  L£once  BAi£dite, 
Curator  of  the 
Luxembourg  Gallery,  Paris 

Reprinted,  by  permission,  from  La 
Revue  de  l’ Art  Ancien  et  Moderne, 
Paris. 

Written  on  the  occasion  of  the  pub- 
lic exhibition  of  Felix  Buhot ’s  works 
at  the  National  Museum  of  the  Lux- 
embourg, and  translated  from  the 
French  by  Madame  Felix  Buhot. 

First  edition,  37  pages,  11  illustrations 


ONE  DAY  WITH  WHISTLER 

By  Frederick  Keppel 
Reprinted,  by  permission,  from  The 
Reader  of  January,  1904. 

Second  edition,  23  pages,  with  a por- 
trait of  the  artist,  from  the  drawing 
by  Paul  Rajon,  and  a facsimile 
(in  reduced  size)  of  an  autograph 
letter  from  Whistler  to  Mr.  Keppel 


MR.  PENNELL’S  ETCHINGS  OF 
NEW  YORK  “SKY  SCRAPERS” 

By  Frederick  Keppel 

Second  edition,  24  pages,  9 illustrations 


CHARLES  MERYON, 

A Biographical  Sketch 

By  Frederick  Keppel 

Second  edition,  37  pages,  13  illustrations 


THIRD  SERIES 

Of  the  Third  Series  there  have  been  issued 


THE  ETCHINGS  OF  PIRANESI 

By  Russell  Sturgis 
Third  edition,  54  pages,  19  illustrations 

MR.  PENNELL’S 
ETCHINGS  OF  LONDON 

By  Walter  Conrad  Arensberg 

Reprinted,  by  permission,  from  The 
Evening  Post  of  March  1,  1906,  to 
which  is  added  MR.  PENNELL  AS  A 
PRINTER,  by  Frederick  Keppel,  writ- 
ten on  the  occasion  of  an  exhibition  of 
Mr.  Pennell ’s  etchings  of  London. 
First  edition,  43  pages,  14  illustrations 

HOW  PRINTS  ARE  MADE 

By  Atherton  Curtis 

A description  of  the  various  pro- 
cesses employed  in  the  making  of 


Prints— Engraving,  Etching,  Aqua- 
tint, Dry-point,  Mezzotint— together 
with  Notes  on  Printing,  and  a chapter 
on  Technical  Terms. 

Second  edition,  28  pages 

Note.  This  Booklet,  being  of  un- 
usual interest  and  importance  to  Col- 
lectors and  to  all  lovers  of  fine  prints, 
is  also  issued  as  a separate  Pamphlet : 
size  7(4x5  inches,  22  pages — price 
10  cents. 

DAUBIGNY 

By  Robert  J.  Wickenden 
Written  on  the  occasion  of  an  exhibi- 
tion of  Etchings  and  Drawings  by 
Daubigny.  (April-May,  1907.) 

First  edition,  44  pages,  15  illustrations 


AMERICAN  ETCHERS 

By  Mrs.  Schuyler  van  Rensselaer 

Reprinted,  by  permission,  from  The  Century  Magazine,  with  the  16  original 
illustrations. 

To  this  is  added  Frederick  Keppel ’s  article  on  the  life  and  etched  work  of 
Charles  Meryon. 

Mrs.  van  Rensselaer’s  pamphlet  is  specially  recommended  as  giving  a clear 
and  concise  view  of  the  art  of  etching. 

31  pages,  11%  x 7%,  16  illustrations,  20  cents 

50 


THE  BEST  PORTRAITS  IN  ENGRAVING 

By  the  Hon.  Charles  Sumner 

The  greater  part  of  this  article  appeared  in  a New  York  magazine  in  January, 

1872. 

The  completion,  as  now  issued,  was  given  to  the  publisher,  in  manuscript,  by 
Mr.  Sumner  shortly  before  his  death. 

He  gave  his  hearty  approval  to  its  publication  in  complete  form,  and  ex- 
pressed the  hope  that  it  would  call  the  attention  of  many  persons  of  artistic 
taste  to  the  study  of  those  early  masterpieces  of  the  engraver’s  art,  the  collec- 
tion and  possession  of  which  afforded  himself  so  much  pleasure  and  instruction. 

Fifth  edition,  31  pages,  11%  x 8,  13  illustrations,  25  cents 


THE  GOLDEN  AGE  OF  ENGRAVING 

By  Frederick  Keppel 

Reprinted,  by  permission,  from  Harper’s  Magazine. 

“To  those  who  wish  to  gather,  in  a few  minutes’  reading,  a fair,  clear,  and 
not  inadequate  conception  of  the  Art  of  Engraving  and  its  Great  Masters,  the 
perusal  of  Mr.  Frederick  Keppel ’s  article  on  the  subject  will  prove  very 
satisfactory.  Although  the  spirit  of  condensation  rules  in  every  line,  it  is 
surprising  how  little  of  the  pith  and  essence  of  the  theme  are  omitted.  The 
paper  is  remarkably  clear  and  compendious,  and  is  admirably  written.” — 
Stephen  English. 

‘ ‘ Combines  rare  artistic  excellence  with  a high  degree  of  literary  merit.  ’ ’ — 
New  York  Tribune. 

Fourth  edition,  16  pages,  11x8,  13  illustrations,  15  cents 


LITHOGRAPHY 

By  Atherton  Curtis 

Reprinted,  by  permission,  from  “Some  Masters  of  Lithography.” 
Second  edition,  12  pages,  6 x 4% 

This  Pamphlet  will  be  mailed,  free,  on  application  to  the  publishers. 


HOW  PRINTS  ARE  MADE 

By  Atherton  Curtis 

A description  of  the  various  processes  employed  in  the  making  of  Prints— En- 
graving, Etching,  Aquatint,  Dry-point,  Mezzotint— together  with  Notes  on 
Printing,  and  a chapter  on  Technical  Terms. 

Second  edition,  19  pages,  7%  x 4%,  10  cents 

Note.  This  Pamphlet  can  also  be  had  as  Number  Three  of  The  Third  Series 
of  The  Keppel  Booklets. 


CATALOGUE  OF  THE  ETCHED  WORK  OF  EVERT  VAN  MUYDEN 

By  Atherton  Curtis 

With  a portrait  of  the  artist  and  ten  head  pieces  etched  expressly  for  the  cata- 
logue and  one  unpublished  plate  ( Lion  and  Lioness).  The  edition  is  limited  to 
230  numbered  copies  and  is  printed  by  the  De  Vinne  Press. 

Size  10x7  inches,  158  pages,  cloth,  paper  label,  $10 

51 


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